A photograph is undeniably something of reality. Whether it be a shadow captured in the making of a photogram or a snapshot taken on a family holiday, the photographic image is of something that was –– Fact. The reality captured is however transformed to something else – something new.
Formed from a matrix of silver grains, ink droplets, or pixels, the image exists with meaning in the minds and imagination of the viewer of a photograph. Each of us will see and interpret the image uniquely –– Fiction. A photograph is simultaneously fact and fiction, and in continuous flux between the two.
I am interested in how traces of our world fixed in an image connects with the cerebral construct of the photographic view. The synthesis of these two elements forms a new reality – a photographic reality that exists in a universe, parallel to our own.
The Hidden Visible
2013 – current
Abstractions in knowledge, lost identity, distant science, nostalgia, and belief
Uplands, Downlands, Sunlit Meadows... wish you were here
An exploration of the subjectiveness of photo-memory, responding to a political environment nostalgic for fictional, nebulous pasts.
The Children of Mars
Drawn from an archive of discarded negatives of children’s portraiture, surgical interventions complete the loss of identity severing the sitter’s connection with the past, transforming these to portraits of the present and future.
A darkroom collaboration with developer and gravity, reanimate portraits from decades past to a new anonymous population.
Photographic fact and speculation collide through a found archive of cosmic imagery.
A place that was, and might be
2009 – 2013
Within landscapes that reveal and hide, places that undulate between have been and dreamt, situated in time that will not repeat.
Architectural shrouds and scaffold appendages dot the landscapes of European city centres, and invade dreamland.
Studies of nature under control and placed into order, within formal gardens and glass houses.
Transits of latent vision
2003 – 2009
Explorations of photographic time, space, and imaging beyond what we can see.
Corndogs and Candy Apples
Distant memories of annual visits to amusement parks visualised through an assemblage of slow time through a pinhole.
Opera houses, palaces, rocket launch rings - a wonder world stretched through an anamorphic pinhole projection.
Visualisations of magical encounters of structures within the barren expanse of wilderness realised through impossible vistas formed on infrared film with the rotations of a circuit camera.
Down in the Park
I couldn’t help but notice fewer poppies pinned on clothing in London for this Armistice (or Remembrance) Day than in recent years. Most that I have seen are manufactured pieces, purchased from shops rather than the plastic and paper ones distributed by veterans....
A few views and thoughts from a marathon visit to Photo London 2021
I was outside when the solar eclipse took place the other day, but had no idea there was an eclipse happing. It was overcast but...
Born in 1969, William Mokrynski, is a visual artist who has been working with photography for as long as he can remember. He explores photography’s intrinsic ability of connecting our minds with the time and space presented in an image, through silver-based processes and narrative. In his recent work, the anonymous vernacular camera negative is used to investigate interpretations of photographic reality.
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